Cody Piper “Revealed”
Pittsburgh-based singer, songwriter, and producer Cody Piper popped up on my radar as an artist of piano-driven pop that feels as emotionally honest as it is musically intricate. His debut album is a mix of contemplation and catharsis, displaying a songwriting instinct and style similar to Ben Folds.
Almost every song here stands out, and feels handcrafted. From the opener “Run Home,” it feels like the raw emotion and honesty of a true storyteller. The confessional “Be Quiet,” haunting “Hibernating,” and “Ode to a Lost Love,” speaks to Cody’s emotional anxiety. Recorded and mixed in his home studio, the record never feels small; instead, it radiates intimacy. His piano work anchors everything, on “Maybe It’s Time” and “Nothing To Tell Me,” brings to mind a Runt-era Todd Rundgren.
The love songs are keys throughout, “Leaking Me” and “Things May Change” balance the melancholy and grace in equal measure. The arrangements have catchy hooks and delicate touches of strings, synths, and guitars, giving these songs real depth. Throughout, he avoids the trap of overproduction; this is music that values clarity over gloss, sincerity over spectacle. ‘Revealed’ is both intimate and ambitious—crafted with sweeping strings, subtle synths, guitars and heartfelt lyrics. While technically not power pop, it’s melodic as hell. Super Highly recommended.
Greg Pope “The Roar of Silence”
I’ve been following Greg Pope’s career since 2008, and with ‘The Roar of Silence’ he delivers one of his strongest albums yet. From the first chords, this album feels like the work of an artist fully in command of his craft—but still willing to surprise you.
While “Worthy Son” and “Fallen Star” have both compelling melodies and arrangements, but with “Trick of the Light” he hits gold with its shifting key in the chorus. You’ll hear classic power-pop hooks, but rarely in a predictable way. Several tracks shift gears midstream; he doesn’t just repeat the chorus, he builds around it. The title track starts as an anthemic rock instrumental, then takes a different path. He does a similar thing with “It’s All Pretend.”
That chameleon-like ability to write a memorable chorus no matter where the verse goes has become something of a signature, and it’s on full display throughout this record. There are points where the momentum drags, but it has plenty of variety with the acoustic ballad “Still A Kid” and the sea shanty “Pirate Paddy.” And he goes back to the familiar riff candy that ends things with “Immovable Feast.” Longtime fans will enjoy this album overall, and newcomers will love those sharp hooks and descriptive lyrics. Highly recommended.
